By Ray Stern
By Ray Stern
By New Times
By Amy Silverman
By Stephen Lemons
By Stephen Lemons
By Monica Alonzo
By Chris Parker
In my brother's pint-inspired phone report from the River Thames, he describes Queen Elizabeth II floating past, resembling "a cardboard prop-up of the pope."
A New York contingent betrays its own calendar year and lights up Lower Manhattan with an elaborate dance involving floating, amethyst-and-lilac-hued dragons and hundreds of Chinese people.
But this is Phoenix. A city renowned for rock 'n' roll.
So, five hundred bills to see the Coop? Since when has rock 'n' roll been so stinkin' working-class? And a Gin Blossoms reunion? How about this? Gin Blossoms get the Sellout of the Year award for their taxpayer-assisted, six-figure Celebration 2000 paycheck and flagrant misuse of the word "reunion."
Somebody define for me the reasoning behind a Blossoms reunion when the lineup for which the group is most noted -- in both hindsight and real time -- is an impossibility.
Troubled Blossoms co-founder Douglas Hopkins, you'll recall, expired just before the combo found prolonged pop chart comfort in the mid-'90s. The Blossoms' initial E ticket to Pop-Star Land came courtesy of Hopkins' penned hits, and his spirit assured the group its very own place in rock 'n' roll folklore. In spite of the considerable skills of Hopkins' scion, Scotty Johnson, Hopkins is irreplaceable in the Blossoms. If you ask me, those are two major, non-negotiable premiums in the group's overall worth.
Are we surprised Three Dog Night -- a cackle of unspeakable cads in even the most generous of assumptions -- outdrew the Gin Blossoms?
At Tempe's glittering lakeshore gala, the ever-virile 44-year-old Billy Idol reconfirmed how he's nicked more than a king rocker's persona from Elvis and Gary Glitter. Idol's set opens with a rousing tumble of "Cradle of Love" that sees hundreds of blithe-faced mommies, daddies and kiddies mildly undulating, oblivious to the song's pedophilia theme.
I had few regrets in embracing the new year in a manner best exemplifying very little.
What could top a cast of faded pop crumbs from Canada in an Arizona casino on an Indian reservation at Y2K? A group that once exploited our unguarded borders to such an impressive degree that its rock shtick gave Bob and Doug McKenzie's Great White North a certain prophetic ring.
All 150,000 square feet of Fort McDowell Casino near Fountain Hills have no tangible aesthetic, no real definable core. Spaciously sterile, tonight it is packed to the gills. Yet one wouldn't have guessed a New Year's celebration if not for the occasional monkey suit and littering of cardboard top hats inscribed with "2000."
Above the whir of the slots and din of murmurs, Skynyrd pumps through the house PA. If ever a crowd was lost to the irony of a catcall like "Play some Skynyrd," it was this one. And just how much of an old gray mare is rock 'n' roll when it prompts a white-haired grandpa in a Gone Fishin' cap to nod his head to "Gimme Three Steps" while manning a slot?
The premillennial tension in the Entertainment room at The Fort had more to do with beleaguered bartenders stuck doling out drinks from cashier booths and the conspicuous lack of jackpot alarms ringing in the casino's bustling main room.
"Rock 'n' roll, already," hoots one guy wearing an unbuttoned flannel over a tee shirt that reads "GIRLS ONLY" with an arrow pointing toward his crotch. A beer in either hand, he waves his head from side to side and squints over the heads of 300 who have filled to the room to capacity. "Loverboooooy."
Diamondbacks tee shirts and soiled jeans mix with suits and stonewash. Sports scores flash across a ticker on one wall while faintly sweating barmaids weave through the crowd, doling out small plastic cups and cheap champagne.
For the better part of the '80s, Vancouver's Loverboy was huge. Albums titled Loverboy, Get Lucky, Keep It Up and Lovin' Every Minute of It all shifted in the millions and allowed the group to fill the largest venues the world over. Yet critics carped to the heavens about Loverboy's dubious tools, using blanket descriptions like "middle-of-the-road muddle" to characterize the band's mien.
With tit-job peroxide teens, guitar-spank white rap, cash-it-in MCs, airbrushed Latino lovers and countless DJs cramming the current pop charts, Loverboy seems as far away as the stray, tattered hippie one occasionally spots, wandering along, oblivious that the world has passed him by.
Loverboy's doughboy singer, Mike Reno, appears at 10:30, distressingly unaware that black leather pants are a sin unless body weight sits below 145. The band follows, and rock radio staple of yesteryear "Victorious" ensues.
And the 300 or so are there, right with 'em.
Loverboy makes use of all former glory. If nothing else, Loverboy -- which during its heyday made many lives (including mine) miserable with its ubiquity on radio and MTV -- acts as though nothing has changed. They play all the hits. Welcome to 1981 and '80s red bandanna rock eros that still means something to the aging Kelly Bundys with fatherless kids and the women who left their hubbies in the back of the room to stand front and center.